Edmund Burke

from A Philosophical Inquiry into the Origin of our Ideas of the Sublime and Beautiful (1757)

The aesthetic development that can be traced through the writings of Addison, Hutcheson, and Hume comes to a head in this most important book of Edmund Burke, the Irish statesman, political writer, and essayist. This book appeared in 1757 only a few months after Hume's essay, and in fact Burke seems to have held back the introductory essay of his book, ''On Taste,'' until the second edition of 1759, in order to respond more fully to Hume's position. Burke also notes in the preface of 1757 that he had actually finished the manuscript in 1753. Whatever the case, Burke's solution would eclipse the efforts of his contemporaries and largely chart the direction of British aesthetic theory for the remainder of the century.

Much of the reason for the book's success lies in its simple ambition. If Hume had attempted to salvage judgments of taste by arguing, in essence, that they could be justly displayed only by people of superior or purified imagination, Burke takes a more systematic or scientific approach. He believes that there are indeed ''some invariable and certain laws'' underlying judgments of taste, which he defines as ''that faculty or those faculties of the mind, which are affected with, or which form a judgment of, the works of imagination and the elegant arts.'' His approach is to describe more comprehensively the range of emotions that are evoked by objects as well as to eliminate many of the vestiges of classical theory, such as the connection of fitness or utility with aesthetic judgments

Edmund Burke (1729-97), from A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757) in The Works of Edmund Burke, Vol. I, London: G. Bell & Sons, 1913, pp. 118-22.

(which requires the intervention of reason). It is in the last regard that this first selection from his study is presented. Appearing under the heading ''Proportion Not the Cause of Beauty in the Human Species,'' this passage is a masterpiece of Burkean prose that cuts to the chase by quickly disposing of all classical conceptions. Note, for instance, his use of the famous Renaissance and Vitruvian image of a man standing in a square - how he not only rejects its relevance but also exploits its meaning to strengthen his own comments on architecture and garden design.

There are some parts of the human body that are observed to hold certain proportions to each other; but before it can be proved that the efficient cause of beauty lies in these, it must be shown, that wherever these are found exact, the person to whom they belong is beautiful: I mean in the effect produced on the view, either of any member distinctly considered, or of the whole body together. It must be likewise shown, that these parts stand in such a relation to each other, that the comparison between them may be easily made, and that the affection of the mind may naturally result from it. For my part, I have at several times very carefully examined many of those proportions, and found them hold very nearly or altogether alike in many subjects, which were not only very different from one another, but where one has been very beautiful, and the other very remote from beauty. With regard to the parts which are found so proportioned, they are often so remote from each other, in situation, nature, and office, that I cannot see how they admit of any comparison, nor consequently how any effect owing to proportion can result from them. The neck, say they, in beautiful bodies, should measure with the calf of the leg; it should likewise be twice the circumference of the wrist. And an infinity of observations of this kind are to be found in the writings and conversations of many. But what relation has the calf of the leg to the neck; or either of these parts to the wrist? These proportions are certainly to be found in handsome bodies. They are as certainly in ugly ones; as any who will take the pains to try may find. Nay, I do not know but they may be least perfect in some of the most beautiful. You may assign any proportions you please to every part of the human body; and I undertake that a painter shall religiously observe them all, and notwithstanding produce, if he pleases, a very ugly figure. The same painter shall considerably deviate from these proportions, and produce a very beautiful one. And indeed it may be observed in the master-pieces of the ancient and modern statuary, that several of them differ very widely from the proportions of others, in parts very conspicuous and of great consideration; and that they differ no less from the proportions we find in living men, of forms extremely striking and agreeable. And after all, how are the partisans of proportional beauty agreed amongst themselves about the proportions of the human body? Some hold it to be seven heads; some make it eight; whilst others extend it even to ten; a vast difference in such a small number of divisions! Others take other methods of estimating the proportions, and all with equal success. But are these proportions exactly the same in all handsome men? or are they at all the proportions found in beautiful women? Nobody will say that they are; yet both sexes are undoubtedly capable of beauty, and the female of the greatest; which advantage I believe will hardly be attributed to the superior exactness of proportion in the fair sex. Let us rest a moment on this point; and consider how much difference there is between the measures that prevail in many similar parts of the body, in the two sexes of this single species only. If you assign any determinate proportions to the limbs of a man, and if you limit human beauty to these proportions, when you find a woman who differs in the make and measures of almost every part, you must conclude her not to be beautiful, in spite of the suggestions of your imagination; or, in obedience to your imagination, you must renounce your rules; you must lay by the scale and compass, and look out for some other cause of beauty. For if beauty be attached to certain measures which operate from a principle in nature, why should similar parts with different measures of proportion be found to have beauty, and this too in the very same species? But to open our view a little, it is worth observing, that almost all animals have parts of very much the same nature, and destined nearly to the same purposes; a head, neck, body, feet, eyes, ears, nose, and mouth; yet Providence, to provide in the best manner for their several wants, and to display the riches of his wisdom and goodness in his creation, has worked out of these few and similar organs and members, a diversity hardly short of infinite in their disposition, measures, and relation. But, as we have before observed, amidst this infinite diversity, one particular is common to many species: several of the individuals which compose them are capable of affecting us with a sense of loveliness; and whilst they agree in producing this effect, they differ extremely in the relative measures of those parts which have produced it. These considerations were sufficient to induce me to reject the notion of any particular proportions that operated by nature to produce a pleasing effect; but those who will agree with me with regard to a particular proportion, are strongly prepossessed in favour of one more indefinite. They imagine, that although beauty in general is annexed to no certain measures common to the several kinds of pleasing plants and animals; yet that there is a certain proportion in each species absolutely essential to the beauty of that particular kind. If we consider the animal world in general, we find beauty confined to no certain measures: but as some peculiar measure and relation of parts is what distinguishes each peculiar class of animals, it must of necessity be, that the beautiful in each kind will be found in the measures and proportions of that kind; for otherwise it would deviate from its proper species, and become in some sort monstrous: however, no species is so strictly confined to any certain proportions, that there is not a considerable variation amongst the individuals; and as it has been shown of the human, so it may be shown of the brute kinds, that beauty is found indifferently in all the proportions which each kind can admit, without quitting its common form; and it is this idea of a common form that makes the proportion of parts at all regarded, and not the operation of any natural cause: indeed a little consideration will make it appear, that it is not measure, but manner, that creates all the beauty which belongs to shape. What light do we borrow from these boasted proportions, when we study ornamental design? It seems amazing to me, that artists, if they were as well convinced as they pretend to be, that proportion is a principal cause of beauty, have not by them at all times accurate measurements of all sorts of beautiful animals to help them to proper proportions, when they would contrive anything elegant; especially as they frequently assert that it is from an observation of the beautiful in nature they direct their practice. I know that it has been said long since, and echoed backward and forward from one writer to another a thousand times, that the proportions of building have been taken from those of the human body. To make this forced analogy complete, they represent a man with his arms raised and extended at full length, and then describe a sort of square, as it is formed by passing lines along the extremities of this strange figure. But it appears very clearly to me, that the human figure never supplied the architect with any of his ideas. For, in the first place, men are very rarely seen in this strained posture; it is not natural to them; neither is it at all becoming. Secondly, the view of the human figure so disposed, does not naturally suggest the idea of a square, but rather of a cross; as that large space between the arms and the ground must be filled with something before it can make anybody think of a square. Thirdly, several buildings are by no means of the form of that particular square, which are notwithstanding planned by the best architects, and produce an effect altogether as good, and perhaps a better. And certainly nothing could be more unaccountably whimsical, than for an architect to model his performance by the human figure, since no two things can have less resemblance or analogy, than a man and a house, or temple: do we need to observe, that their purposes are entirely different? What I am apt to suspect is this: that these analogies were devised to give a credit to the works of art, by showing a conformity between them and the noblest works in nature; not that the latter served at all to supply hints for the perfection of the former. And I am the more fully convinced, that the patrons of proportion have transferred their artificial ideas to nature, and not borrowed from thence the proportions they use in works of art; because in any discussion of this subject they always quit as soon as possible the open field of natural beauties, the animal and vegetable kingdoms, and fortify themselves within the artificial lines and angles of architecture. For there is in mankind an unfortunate propensity to make themselves, their views, and their works, the measure of excellence in everything whatsoever. Therefore, having observed that their dwellings were most commodious and firm when they were thrown into regular figures, with parts answerable to each other; they transferred these ideas to their gardens; they turned their trees into pillars, pyramids, and obelisks; they formed their hedges into so many green walls, and fashioned their walks into squares, triangles, and other mathematical figures, with exactness and symmetry; and they thought, if they were not imitating, they were at least improving nature, and teaching her to know her business. But nature has at last escaped from their discipline and their fetters; and our gardens, if nothing else, declare we begin to feel that mathematical ideas are not the true measures of beauty. And surely they are full as little so in the animal as the vegetable world. For is it not extraordinary, that in these fine descriptive pieces, these innumerable odes and elegies, which are in the mouths of all the world, and many of which have been the entertainment of ages, that in these pieces which describe love with such a passionate energy, and represent its object in such an infinite variety of lights, not one word is said of proportion, if it be, what some insist it is, the principal component of beauty; whilst, at the same time, several other qualities are very frequently and warmly mentioned? But if proportion has not this power, it may appear odd how men came originally to be so prepossessed in its favour. It arose, I imagine, from the fondness I have just mentioned, which men bear so remarkably to their own works and notions; it arose from false reasonings on the effects of the customary figure of animals; it arose from the Platonic theory of fitness and aptitude. For which reason, in the next section, I shall consider the effects of custom in the figure of animals; and afterwards the idea of fitness: since, if proportion does not operate by a natural power attending some measures, it must be either by custom, or the idea of utility; there is no other way.

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